The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
I took pottery classes all throughout high school, and it was the only class I never ditched. School was quite difficult for me, but ceramics was something I felt really good at, which was rare for me in school. A few years later, I started taking classes at the Art Students League of Denver in Colorado. From that moment on, I couldn’t go a day without doing pottery. I would go before and after my shifts when I worked as a server. It calmed my anxious mind and made me feel good at something which I hadn’t felt in a long time. When the pandemic hit, I was laid off from my serving job and then decided to pursue ceramics full time. I worked as an apprentice and teacher at Flux Studio Denver for a year to learn the ins and outs of running a studio. In May of 2021, I moved into my own studio and started making and selling my work full time. I have needed (and wanted) to do pottery every day since then, and have worked tirelessly to be able to call it my full-time job. The lifestyle it brings me is something that fits me and my personality so well. The slow calm pace, having a space to myself with creative freedom and being able to watch love island all day is a dream.
A Potter’s Life in LA
I always knew the work would be physically demanding and exhausting, but equally rewarding, and it has consistently been that way over the past six years. What has changed the most, however, is everything that happens behind the scenes. Running a business means taking on marketing, accounting, inventory, creating “content,” and everything in between, which has honestly been the biggest challenge. That side of things doesn’t come naturally to my brain, and I suspect that’s something most potters can relate to. I am very type B.
I never thought I would be a full-time artist. I had seen the art world and honestly wanted to stay far away from it. There is a part of the art world (like any world) that didn’t feel right for me. But working in a community studio before I started NonPorous Ceramics really helped shape what a supportive artist community could look like. The other students on my classes were so open about bouncing ideas off of each other, sharing techniques, problem-solving together, and connecting with each other through our shared passion felt really special. I find ceramic artists to be so kind and open to talking about their own tricks and skills. Being a full-time ceramic artist has changed my life in every way: in the connections I make, the value I have for myself, and the way I move through my everyday life.
I chose Los Angeles for a multitude of reasons. Having lived in Denver my whole life, I was ready for a change, and I knew a few ceramic artists out here whose quality of life looked incredible; that was a big pull. I love how lush and beautiful LA is, and how there are a lot more opportunities out here to connect with other artists and different kinds of people. When I first moved here, I was able to set up a home studio, which was something I had always dreamed of. Back in Denver, my studio was in the city, and that environment felt loud and busy, not quite the right energy for the kind of work I was making. Working from home has made a tremendous difference in the way I work. The comfort, the convenience, and the slower pace of it have all helped my work grow in ways I didn’t fully anticipate.
My studio is set up in the garage with barn doors that I keep open throughout the day. That constant flow of fresh air and natural light makes the whole space feel warm and inviting. I have two work tables on one side where I do handbuilding, wedging, preparing pieces, and making mugs. On the other side, I’ve arranged rows of shelving on either side of my wheel to hold my thrown, bisqued, and finished work. A bonus is my wheel facing a small window. On the back wall, I have a lot of shelving that holds all of my extra tools, slip-casting equipment, vinyl for stencils, etc.
A DAY IN THE LIFE
A day in my studio looks different depending on what part of the cycle I am in. Something that has been really important is keeping to a tight schedule, especially as someone with ADHD and I’m the only one holding myself accountable. I will also set a timer every hour to get up and stretch out my body to make sure I’m not in one position for hours on end.
MORNING
9:00am Work day starts.
9:00–9:30am Clean up from the day before (too tired to do it at night).
9:30am–1:00pm Production work.
AFTERNOON
1:00–1:45pm Lunch.
1:45–5:00pm Repeat work tasks.
EVENING
5:00–6:00pm Plan content, do administrative tasks, and organize a little for the next day ahead.
Building Community
The creative community in LA is incredibly rich and vibrant. Over the years, I’ve been fortunate to build meaningful connections with fellow artists: trading work, supporting one another, and creating a real sense of community. That support has genuinely helped my work grow and opened doors to opportunities I never would have found on my own.
A great example is my potter friend Kirsten (@artschoool dropout), who I originally connected with through Instagram years before I moved to LA. She put together a show bringing ceramicists and florists together to collaborate on pieces inspired by each other’s work. Being part of that show introduced me to so many new artists and expanded my network in ways I didn’t expect, and the piece I created was directly inspired by a florist’s work, which pushed my creativity in a whole new direction.
Taking the Leap
The biggest decision I’ve ever had to make was committing to ceramics full time and quitting my apprenticeship/teaching job. There was no roadmap, no financial safety net, nothing guaranteed; it was really just a leap of faith into something completely uncertain. I honestly didn’t know whether I could make a living doing what I loved until I was already in it. Looking back, I was lucky, but I also believe that luck has a way of finding the people who are willing to take that risk in the first place. Choosing to go all in, despite not knowing how it would turn out, is still the best decision I’ve ever made. I think in doing that it made me work extremely hard to get to a comfortable position in my career.
A big inspiration for me is James Turrell: the way he plays with light, shadow, color, and depth. I wanted to create something that lived in that same realm. This led me to start airbrushing my pieces to achieve a blended, soft effect that still felt bold and playful. The challenge was that there are no classes or tutorials on airbrushing pottery; it’s largely uncharted territory. There was a lot of trial and error, but working through that process brought me to a place where I felt like I was making something truly personal.
The Digital World
Social media is, honestly, one of the biggest parts of my job. It’s how I connect with other artists, promote my work, and find opportunities I wouldn’t have stumbled across otherwise. That said, it’s also the part I struggle with the most. There are days I wish I could just turn it off entirely. But I can’t ignore what it’s given me: genuine, lasting friendships and opportunities that have meaningfully shaped my career. One thing I really try to focus on with social media is following or engaging with content that doesn’t make me feel dragged down or compare myself to others. It can be so easy to do that and I have made some hard boundaries there.
We live in a very digital world, and it can be challenging as an artist to build a platform where your work gets discovered and seen. Almost all of my sales happen online, but there’s something about selling at a pop-up or art fair that simply can’t be replicated. Talking to people in person, meeting other artists, and growing your community in a real, tangible way is invaluable. While I make my living almost entirely through online sales, I’d say in-person selling is just as important, just in a different way. It’s less about revenue and more about community.
Experience and Advice
I worked as an apprentice/pottery teacher at Flux Studio Denver. It was such an important start to my career as I learned the ins and outs of running your own studio. From loading and working a gas kiln to making glazes from scratch, and the safety tips in between, it gave me the confidence to pursue my own studio, especially when it came to doing that safely and effectively.
As for advice, although I think this is the most used term in ceramics, the best thing I can say is to have patience. I’m an Aries, so that doesn’t come to me naturally. Finding your unique style, what feels good to you, and getting better and better at ceramics happens over time. Pottery is ancient and sacred; people will always want to buy it, and your work will add to the community as a whole. DO IT!!! There will never be a “right” time to start, so just get in there and see what happens.
CAREER SNAPSHOT
YEARS AS A PROFESSIONAL POTTER
6
NUMBER OF POTS MADE IN A YEAR
1011
EDUCATION
No formal training
THE TIME IT TAKES (PERCENTAGES)
Making work (including firing): 80%
Promotions/Selling: 10%
Office/Bookkeeping: 10%
FAVORITE TOOL
Small round yellow Mudtools rib
PROCESS
Airbrushing wheel-thrown, slip-cast, and handbuilt ceramic.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
I took pottery classes all throughout high school, and it was the only class I never ditched. School was quite difficult for me, but ceramics was something I felt really good at, which was rare for me in school. A few years later, I started taking classes at the Art Students League of Denver in Colorado. From that moment on, I couldn’t go a day without doing pottery. I would go before and after my shifts when I worked as a server. It calmed my anxious mind and made me feel good at something which I hadn’t felt in a long time. When the pandemic hit, I was laid off from my serving job and then decided to pursue ceramics full time. I worked as an apprentice and teacher at Flux Studio Denver for a year to learn the ins and outs of running a studio. In May of 2021, I moved into my own studio and started making and selling my work full time. I have needed (and wanted) to do pottery every day since then, and have worked tirelessly to be able to call it my full-time job. The lifestyle it brings me is something that fits me and my personality so well. The slow calm pace, having a space to myself with creative freedom and being able to watch love island all day is a dream.
A Potter’s Life in LA
I always knew the work would be physically demanding and exhausting, but equally rewarding, and it has consistently been that way over the past six years. What has changed the most, however, is everything that happens behind the scenes. Running a business means taking on marketing, accounting, inventory, creating “content,” and everything in between, which has honestly been the biggest challenge. That side of things doesn’t come naturally to my brain, and I suspect that’s something most potters can relate to. I am very type B.
I never thought I would be a full-time artist. I had seen the art world and honestly wanted to stay far away from it. There is a part of the art world (like any world) that didn’t feel right for me. But working in a community studio before I started NonPorous Ceramics really helped shape what a supportive artist community could look like. The other students on my classes were so open about bouncing ideas off of each other, sharing techniques, problem-solving together, and connecting with each other through our shared passion felt really special. I find ceramic artists to be so kind and open to talking about their own tricks and skills. Being a full-time ceramic artist has changed my life in every way: in the connections I make, the value I have for myself, and the way I move through my everyday life.
I chose Los Angeles for a multitude of reasons. Having lived in Denver my whole life, I was ready for a change, and I knew a few ceramic artists out here whose quality of life looked incredible; that was a big pull. I love how lush and beautiful LA is, and how there are a lot more opportunities out here to connect with other artists and different kinds of people. When I first moved here, I was able to set up a home studio, which was something I had always dreamed of. Back in Denver, my studio was in the city, and that environment felt loud and busy, not quite the right energy for the kind of work I was making. Working from home has made a tremendous difference in the way I work. The comfort, the convenience, and the slower pace of it have all helped my work grow in ways I didn’t fully anticipate.
My studio is set up in the garage with barn doors that I keep open throughout the day. That constant flow of fresh air and natural light makes the whole space feel warm and inviting. I have two work tables on one side where I do handbuilding, wedging, preparing pieces, and making mugs. On the other side, I’ve arranged rows of shelving on either side of my wheel to hold my thrown, bisqued, and finished work. A bonus is my wheel facing a small window. On the back wall, I have a lot of shelving that holds all of my extra tools, slip-casting equipment, vinyl for stencils, etc.
A DAY IN THE LIFE
A day in my studio looks different depending on what part of the cycle I am in. Something that has been really important is keeping to a tight schedule, especially as someone with ADHD and I’m the only one holding myself accountable. I will also set a timer every hour to get up and stretch out my body to make sure I’m not in one position for hours on end.
MORNING
9:00am Work day starts.
9:00–9:30am Clean up from the day before (too tired to do it at night).
9:30am–1:00pm Production work.
AFTERNOON
1:00–1:45pm Lunch.
1:45–5:00pm Repeat work tasks.
EVENING
5:00–6:00pm Plan content, do administrative tasks, and organize a little for the next day ahead.
Building Community
The creative community in LA is incredibly rich and vibrant. Over the years, I’ve been fortunate to build meaningful connections with fellow artists: trading work, supporting one another, and creating a real sense of community. That support has genuinely helped my work grow and opened doors to opportunities I never would have found on my own.
A great example is my potter friend Kirsten (@artschoool dropout), who I originally connected with through Instagram years before I moved to LA. She put together a show bringing ceramicists and florists together to collaborate on pieces inspired by each other’s work. Being part of that show introduced me to so many new artists and expanded my network in ways I didn’t expect, and the piece I created was directly inspired by a florist’s work, which pushed my creativity in a whole new direction.
Taking the Leap
The biggest decision I’ve ever had to make was committing to ceramics full time and quitting my apprenticeship/teaching job. There was no roadmap, no financial safety net, nothing guaranteed; it was really just a leap of faith into something completely uncertain. I honestly didn’t know whether I could make a living doing what I loved until I was already in it. Looking back, I was lucky, but I also believe that luck has a way of finding the people who are willing to take that risk in the first place. Choosing to go all in, despite not knowing how it would turn out, is still the best decision I’ve ever made. I think in doing that it made me work extremely hard to get to a comfortable position in my career.
A big inspiration for me is James Turrell: the way he plays with light, shadow, color, and depth. I wanted to create something that lived in that same realm. This led me to start airbrushing my pieces to achieve a blended, soft effect that still felt bold and playful. The challenge was that there are no classes or tutorials on airbrushing pottery; it’s largely uncharted territory. There was a lot of trial and error, but working through that process brought me to a place where I felt like I was making something truly personal.
The Digital World
Social media is, honestly, one of the biggest parts of my job. It’s how I connect with other artists, promote my work, and find opportunities I wouldn’t have stumbled across otherwise. That said, it’s also the part I struggle with the most. There are days I wish I could just turn it off entirely. But I can’t ignore what it’s given me: genuine, lasting friendships and opportunities that have meaningfully shaped my career. One thing I really try to focus on with social media is following or engaging with content that doesn’t make me feel dragged down or compare myself to others. It can be so easy to do that and I have made some hard boundaries there.
We live in a very digital world, and it can be challenging as an artist to build a platform where your work gets discovered and seen. Almost all of my sales happen online, but there’s something about selling at a pop-up or art fair that simply can’t be replicated. Talking to people in person, meeting other artists, and growing your community in a real, tangible way is invaluable. While I make my living almost entirely through online sales, I’d say in-person selling is just as important, just in a different way. It’s less about revenue and more about community.
Experience and Advice
I worked as an apprentice/pottery teacher at Flux Studio Denver. It was such an important start to my career as I learned the ins and outs of running your own studio. From loading and working a gas kiln to making glazes from scratch, and the safety tips in between, it gave me the confidence to pursue my own studio, especially when it came to doing that safely and effectively.
As for advice, although I think this is the most used term in ceramics, the best thing I can say is to have patience. I’m an Aries, so that doesn’t come to me naturally. Finding your unique style, what feels good to you, and getting better and better at ceramics happens over time. Pottery is ancient and sacred; people will always want to buy it, and your work will add to the community as a whole. DO IT!!! There will never be a “right” time to start, so just get in there and see what happens.
CAREER SNAPSHOT
YEARS AS A PROFESSIONAL POTTER
6
NUMBER OF POTS MADE IN A YEAR
1011
EDUCATION
No formal training
THE TIME IT TAKES (PERCENTAGES)
Making work (including firing): 80%
Promotions/Selling: 10%
Office/Bookkeeping: 10%
FAVORITE TOOL
Small round yellow Mudtools rib
PROCESS
Airbrushing wheel-thrown, slip-cast, and handbuilt ceramic.
WHERE IT GOES
Retail Stores: 5%
Galleries: 5%
Craft/Art Fairs: 15%
Online: 75%
LEARN MORE
www.nonporousceramics.com
Instagram: @nonporous.ceramics
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